
A
PRACTICAL TREATISE
ON
f
USICAL COMPOSITION.
this conscientious writer.
I/
-
Prom the IZlustrated London
News,
30th Dec.,
1848.
We have received frequent applications from amateurs and
students, to mention the
best standard works on composition,
and
we have recommended the theoretical writings of Al-
brechtsberger, Schueider,
G.
Weber, AbhO Vogler, Choron,
Reicha, Cheruhini, Rameau, &c.. to our applicants; but, for
a lucid compilation of
the principles of the great theorists, we
have searched in vain. The appearance of the volume now
before us will he of the greatest service to the teacher, and of
inestimable value to the student. The work has
the
signature
of a German; hut, in his preface he acknowledges the assist-
ance
'L
of an English gentleman: who was not only a sound
musician, hut of literary attainments." Mr. Rohner regrets
that he is not permitted to publish his coadjutor's name
;
and
this regret will be shared by those readers of the work who
will participate
in
tho value of its principles, as much for
acquiring as for inspiring knowledge. Mr. Rohner commences
with scales and intervals; and then treats of
melody, and its
accentuation according to time and measure. The third
chapter, on harmony and
chordn, is extremely well treated
The hints on the construction of elaborate instrumental com-
positions are
admirablc; and the supplementary chapters on
harmony, in two, three, and more than four parts, and on the
composition of vocal music, are clear and full in explanation,
and the examples well chosen
and appropriate. Much time and
trouble
inay be spared to the pupil who carefully studies this
new treatise, which will he an easy introduction to the more
voluminous works of
tlie great theorists. The work has been
got up with great care, and is printed in large bold type.
-
From
the
Critic,
1st
Jan.
1849.
A
thoronehlv oractical treatise on musical comnosition. or
1
rathe~we~&o;lk sag on the theory of music, foiits compo-
sition is not to be
tnlciht
;
it must come from within. If Mr.
Rihner had
termed it musical
ezpression
he would have been
more strictly correct. for his purpose is to teach the manner
of putting a musical
hea
into the form of music. It is pro-
fusely illustrated, and will, no
doubt, he studied with great
advantage by
composers, whether professional or amateur.
than ever, that the reviewer, upon taking up a new book
such profession, opens it with a feeling bordering
npon prejudice against it, so certain does he feel of once
again meeting with disappointment. It is, therefore, with a
heightened degree of pleasure we place before our readers
a
recommendation of
G.
W.
Rohner's work, for it fulflls its
promise. It is a small quarto volume, containing 156 pages
of letterpress and
music, excellently printed, and has been
corrected with peculiar care, a circumstance of the highest
importance
in
theoretical works. It was our first intention
to have gone into an elaborate analytical review of this
treatise, hut were soon after stopped by finding how much
could he said upon every part, that to do justice to all would
far outrun the space a newspaper can afford for any single
wvork We must, in consequence, content ourselves by giving
it
our hearty recommendation not only to the student in
music, but to the professor.
The first will obtain by its aid
a
vast store of practical information; the latter find things
there set down
in a new light that will at least revive
aIl
he
has before studied, if not create in his mind entirely fresh
views in the application of the science of music.
-
From the Manchester Courier, 13th January,
1849.
This new theory seems to have taken
tlie musical world by
surprise-the London press teeming
with its praise; some
going so far as to assert that it must become the national
manual of
music to the teacher, and more especially to him
who has to toil in the path of self-instruction.
Mr
Rtjhner
is a German, hut has had the assistance of an English literary
and musical gentleman, thus giving all the German erudition
upon the subject, without the crudity and obscurity which
more or less belong to a translation. We are happy in being
able to add our commendation to that of our contemporaries
of the London press; feeling convinced than any work which
will exite a study for the
theory
of music, instead of the nn-
meaning
practice
which we find too often aimed at alone, has
conferred an intellectual boon npon the country-has given
the means for an elevating, a rational, and most desirable
exercise of the mind.
-
From the Morniag Chronicle, 16th Jan, 1849.
Whatever doubt may exist of an absolute necessity for this
production, on account
ofthe paucity or inefficiency of those
which already exist, we nevertheless hope that Mr Rohner's
work will do service to the progress of real
n~usical science
as well as musical taste, in this
country. bv stimulatine
-
11
demand for musical education more sbund and solid-in
From the Morning Herdd, Jan.
8,
1849.
system,
ab Cliitio,
than that which is now but too often
bestowed-a system which, while it may impart a certain
Mr.
Ri5hner publishes this treatise because he believes that
amount of dexterity in execution within a limited ranee. thus
a
practical book upon the theory of music "remained a
furnibhing
the material for
superficial
display befo&
a
par-
desideratum;" that is. there has either heen,
On
the one
tial and probably unskiiled audience, yet often leaves the
hand, too much compression, or, on the
other, too much
pupil, after a five or seven years' course of nominal instrnc-
diffuseness.
"Reflect~on on this," he adds, "grew at length
tion,
with exactly the same amount of knowledge in the true
into a desire to attempt to
supply a work that should at Once
principles of music as at the beginnin&
assist the teacher and render easier the task of those who
LONDON
:
LONGMAN,
BROWN,
GREEN,
&
LONGMANS.
have to toil in the path of self-instruction."
Without coin-
ciding
in the impression that animates Mr. Rbhner
as
to the
general
iinavailable character of the thousand elementary
treatises which have issued from the press, we may give him
the credit
of having produced a very serviceable volume
for
those
who
are
about
to
study the
theoretical
of
the
art,
and there
can
be
no
doubt that it
is
one
of
the
best
in existence as regards pian, development, and illustration,
The
letter-press
,,,hich
accompanies
the
chapters
is
the
tribution
of
an
who,
possessed
of
the
requi-
site knowledge, aided the author in completing the wish that
the work should be brought out in this
country.
~h~
text
thus supplied is clear and pertinent, and though copious in
its
details, exhibits no
ostentatious
verbosity, while the
tech-
nical spirit which necessarily pervades the elucidations is
ably defined
to
meet the inquiries
of
the uninitiated.
~h~
rules
are
well enforced
a
key
to
which
is
printed
in a separate volume.
-
From
the Lady,s
paper,
IBth
January,
1849.
So many practical treatises on musical composition con-
tinue to appear, all professing to accomplish the same end,
namely, to make that which has hitherto been deemed
diE-
cult or obscure, easy and clear, hut generally leaving the
reader in the end more perplexed and in
deepex obscurity
/
-
From the Mor9aing Post, 25th Jan.,
1849.
BIr,
n8hner,s purpose,
in
publishing
this
work,
has
been
to
supply the musical student with
a
compendium of theoretical
instructions, in which, whilst avoiding the
diuseness and
speculativeness of the larger treatises, no branch of the suh-
ject should
be left unnoticed, or insufficiently explained. 1n
this we think he has succeeded. His book unites the quali-
ties of perspicuity and conciseness, and is evidently the work
of One Competent to teach, and thoroug~ conversant with
the labours of those who have preceded him. Evolving no
fanciful theorieq hut plainly and sensibly setting forth the
pflnclples of musical composition as received by the majol?ty
of professors, this treatise
wilt no doubt be very gellerally
studied
and approved The exercises recommended by ~r.
for the adaptation of hamonies to a given melody
are excellent; the remarks on rhythm and the tonal struo
ture of a musical composition very felicitous. The con-
struction of elaborate compositions, preceded by
a
chapter of
figurate writing, is the last matter treated of; observations on
the composition of vocal music being added in the form of
a
supplementary chapter. We may add, that a key to the
exercises is published with the work, and, in conclusion,
are
happy to recommend it to the attention of all those who are
desirous of acquiring a practical knowledge of the principles
of musical composition